Canon C300 MkII Reviewed

It 's been just over eight months since the release of the updated C300 camera the C300 MkII and almost five years since Vincent Laforet shot Mobius with a pre-production C300. In a landscape dominated by self-shooters and the continued rise of internet video, the C300 perhaps surprisingly like it 's forefather the 5DMkII came to become a solid staple of broadcast / reality production, independent film and online content. In fact, it became the most hired camera in Great Britain, so when I was offered the opportunity to shoot for two weeks with the MkII on a job and review the camera for KitPlus, I was keen to really get to grips with the new offering.

The recent announcement that the camera had been given EBU certification for Tier 1 HD and Tier 2 UHD classification is hoped to silence the web 's doubters and naysayers, some of whom have contested the 15 stops of dynamic range that Canon claimed back in October 2015. The EBU certification supports this claim when shooting in Canon Log 2 Gamma. With that caveat in mind, this review is not about debating the cameras dynamic range, colour science and so forth, but it is about the key thing that matters to a camera operator, director of photography, self-shooter and producer alike - the results you can achieve and the experience in getting to those results. I used the camera for shooting a series of films for a corporate client which will be screened at a major awards ceremony in London and then released on YouTube.

Now, despite this destination for the final work, I am always keen to shoot at, or close to, the maximum resolution settings possible. Who wouldn 't try to get the best out of the new 8.85MP Super 35mm CMOS sensor? I set the camera to record Canon Log 2 3840 X 2160 25p in 422 10 Bit, and also revelled in the ability to record simultaneous proxy HD 420 35mbps files to SDHC card. I shot this job as a self-shooter with little or no assistance in operating camera, lighting, sound and movement kit. Personally, I think this is a great test for the camera as it 's a situation that pushes an individual. You need a tool in that situation that you can rely on, that is familiar, that is simple to rig and to operate. A great deal of the production work that the MkII will be used for, will be of this nature.

When you pick up the camera for the first time you immediately notice it 's become a little heavier - due in part to the new die cast body which results in a slightly steadier handled image. It feels well made and stronger in the hands. The new body allows for repositioning of circuit boards and integration of the fan cooling system, which is fairly quiet and can be set through the menu to your preference. I found no need to alter the factory fan settings during two weeks shooting. A plethora of custom keys (22 in total) are found around the body where you can provide access to common functions, however most of them are already there on the C300 MkII. I was shooting mainly with a 24-70mm f/2.8L II USM. Possibly the most common lens to accompany the camera. Design wise, other key improvements are; new handle design with solid top cheese plate, the audio and video cables are now detachable from the (brighter) LCD monitor and audio unit, the ND filter system is now variable with up to 10 stops, a very useful on board microphone for recording scratch audio, and finally, and definitely most curious - dual pixel auto-focus and lens integration.

Overall the ergonomics are pretty much the same as the MkI: there is a new battery system and a 4-pin lemo 14.7v input on the back of the camera. There is an increased processing power, developed from the processing system off the C500, and the ability to crop in the sensor at 2K. This can be used to achieve higher frame rates. You can shoot HD, UHD, and 4K (including RAW output) in various flavours and bit rates. All of the aforementioned qualities are rounded off by quicker servicing and the possibility of swapping your EF mount to a PL. Technically speaking on paper (given the certification) the C300 MkII offers us HDR, better build quality and more flattering images than the predecessor. But the key question for me is where the camera actually sits in comparison to other options? One that I 'll return to later in the article.

The Experience

Excuse the metaphor but it 's like going out for dinner with an old friend who you haven't seen for a while, you pick up exactly where you left off but your friend is now better dressed and successful. In truth there 's not much I don 't like about the C300 MkII. For the most part it 's the perfect camera for a single shooter, but it 's also got a lot more to offer than that. I know it will be incredibly popular because the images you can achieve are beautiful, but there are some slight things I hope will change when Canon release another 4K system. Most all of my critical comments relate to the form factor. Now this is a somewhat contentious point because you could also argue that the camera has an amazing form factor in that it can be adopted to be big or small, drama or doco, handheld from the hip, shoulder or gimbal, gryo or drone. But from a pure shooting perspective here 's what I 've found:

The top handle and the LCD mounting system are still not strong enough for the price tag. The mounting options are improved but there are better third party solutions out there. A few weeks ago I shot with a MkII with the Arri top plate from Genesis Plus Hire and it 's a much more robust solution, that allows more options in terms of where you position the LCD and rigging other accessories. The same goes for the microphone bracket, these are going to break (but should be easily replaceable).

Higher frame rates in UHD. It 's not an absolute game changer because ask yourself do you really need 100fps? But keep in mind it has to compete with other cameras that can do this so for some this will be a negative.

I 'd like to be able to view a Vectorscope and also change the position of the Waveform monitor on the LCD, it 's stuck on the right hand side which is a nuisance when you 're shooting an interviewee on the right of frame.

Now I want to talk about the feature that has probably blown me away the most after the skin tones and images from the new sensor. The single most impressive and also useful feature for me, was the dual pixel auto-focus. Now this is an odd one, when I first heard about it my instant reaction was 'what a gimmick '. It 's a cardinal sin that goes against everything you 've ever been taught to use autofocus as a camera operator, but trust me, it is no gimmick. I used the C300 MkII on the Steadicam Scout without a focus puller and so it was the perfect test bed for the auto-focus system. The camera is ideally suited to the Scout, sitting right in the middle of the load range (up to 8 Kilos.) Having used the feature in a real world scenario for a good few days now, I can honestly say I am confident using it. It is even possible to predict how it is going to behave and use it to do focus throws from an object close to you to a group of people far away in the back of the shot.

The place in the camera arsenal

Without a shadow of a doubt the camera is going to be extremely popular amongst a wide array of people and productions. For me, it trumps the images that are achievable out of the Sony FS7 by a considerable stretch (not to mention out of the box timecode and genlock and the 4K RAW output). At the point of writing I 've not actually done the post on the work that I shot and I can 't include the real world images just yet because they are not for public release until July. For those who are interested then please check my website or follow me on Twitter @SherriffHD and I 'll be posting links when the films are in the public domain. The majority of the production is interviews peppered with some GVs and B Roll. I think it 's the perfect camera for this type of work. You want shallow DOF, a natural and highly malleable image, together with great audio quality and integration. You want the ability to shoot UHD and 4K and have simultaneous on board proxy recording.

For high-end corporate work, web based work and clearly for broadcast with the new EBU certification the C300 MkII is a great option, but if you want the Canon colours and look it could equally be applied to drama or independent film. For me it comes down to individual budgets, needs and requirements. I frequently hire in kit specific to the budget and the job I am working on. If I am going to shoot on EF lenses and the budget is limited then hire fees for the C300 MkII are basically the same as the FS7 or C300 MkI so I think it 's going to be just as popular as the MkI. Producers also like the familiarity of the C300 - it 's taken the FS7 much longer to become adopted by production because of this fact and the MKI C300 is still a very valid production tool. I expect that the MkII will also be much hired by independents, and think that it 's real advantage is the versatility of options it offers from data rates to multi-camera scenarios, and 4K RAW output.

With the REC 2020 integration and the choice of various gamma and dynamic range options, it strikes me that Canon have really provided a solution that will have a similar longevity as its predecessor. I anticipate that it will be valid for the next three years at least. However, where does it sit in relation to Sony 's F55, the Arri Amira and Panasonic 's new VariCam range? Well it 's more affordable than these cameras and definitely not a million miles away in terms of the sensor quality and the image. I 'd personally love to see Canon release a camera comparable in form to these other systems. That said, the C300 MkII is of course super configurable and the image is striking. This is what it comes down to for me. The image. I don 't mind the few shortcomings. Canon have concentrated on the image, the quality of the pictures and integration with their real strong suite - the lenses they manufacture. In this sense I can only imagine it 's going to continue to increase in popularity and it will be requested on productions more and more over the coming year. Canon 's new kid on the block is here, it 's gaining converts, certification and firmware updates and if you haven 't had the opportunity to try it for yourself, I strongly recommend you do so.

Let 's not forget Canon ignited a revolution with the 5D MkII and you 'd be foolish not to find out what the C300 MkII can achieve off the back of the past eight years in sensor and processing development. Pick one up and shoot, it 's pretty clear.

Jonathan Harrison at BVE North 2011

Sachtler at IBC2011

Litepanels at IBC2011

Petrol at IBC2011

Tiffen at IBC2011

MTF at IBC2011

Day 1 of BroadcastShow at IBC

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There are many reviews about this camera online and a heap of incredibly detailed comparison and behind the scenes footage that will really give you a full insight into what it can do. So first a disclaimer - this review is less detailed and based on my personal reading of what this camera means for Canon and all other camera manufacturers and us – the users of these technologies. So, what’s all the fuss about?

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For the founder of London-based Hangman, James Tonkin, this has indeed been a summer to remember. After sixteen years of working in the same suites, he designed and moved his team into a new future proofed facility in Kew Gardens created specifically for the manipulation and delivery of formats in up to 8K HDR.

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If you asked me the question ‘where do you see yourself after you graduate’ three years ago I would have probably answered ‘in a lot of debt, but if you don't think about it, it doesn't exist because three years is a long time right ?’. WRONG! These three years studying Television and Broadcasting at the University of Portsmouth have been the quickest three years of my life. Back when I started I didn't really have any idea what I wanted to specialise in and the dreaded four letter word AVID used to be my biggest enemy. However I persevered through the 3792871 hours of lectures learning how to use the software, how it functions, neither did I think I'd be a one woman match of the day by graduation'.

The guys at KitPlus asked me if I could write about what I think is going to happen in 2018 – a feel, or mood, piece of what we might see this year. I’m not sure why they asked me but perhaps it’s because I’ve been around the industry a long time. Anyway, to look forward I think sometimes it’s best to look back as history has a habit of repeating itself.

Studio INVATE is a video company based in Bangkok, with an inventive reputation. Its public persona is everyday commercial work, such as producing highly creative videos, live broadcasts and commercials, for companies ranging from large industrial brands and retail businesses to educational institutions. But in between the studio and on-location work for clients, the company’s crew of 14 employees and a few dozen freelancers enjoy live-streaming video game tournaments.

Whatever production companies are doing right here, right now, today, with wireless HD production tools, they want to do right here, right now, today with 4K UHD.
That’s great, but common wisdom would share a host of challenges around 4k UHD, not least, the fact that 4K UHD requires 8x the processing power to transmit, then demands additional horsepower (and bandwidth) to accommodate the data and controls, wireless or otherwise, and of course, when you ramp up processing power, you ramp up heat generation, which needs to be efficiently evacuated.

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Everyones talking about using AoIP (Audio over IP) in the broadcast world, but what does it mean to the operators actually making the production - the intercom users? And after years of interoperability taking the lowest common format of analogue tie-lines (also known as 4-wires), has intercom today already moved into the digital world by sharing digital audio resources with other types of hardware?

In mid-October, Nokia issued a press release from its headquarters in Finland, announcing a refocusing of its business, with a growing emphasis on digital health. Read on a few paragraphs, though, and you find this statement....

The potential nirvana of interoperable IT, Telecommunications and Broadcast convergent technology definitely felt a lot closer at this years IBC with the launch of many, many broadcast IP ready devices, workflow and solutions. While the big ticket camera and live production infrastructures dominated the headlines there were a number of smaller but equally important IP workflows that were launched which are fundamental to successful, professional TV production and this includes the often forgotten world of TV Prompting

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With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.

The media sector is an attractive target for cyber attacks of all kinds from malicious individuals who enjoy disrupting high profile shows, to organised criminals who are attracted by the value of content, to nation states aware that media is a way of conveying or distorting messages.

Presenting for television is a talent that is critically competitive. Budding presenters around the world produce showreels, attend acting schools and fight to be the next Ant and Dec¦ but what is it exactly that makes a successful television presenter? As a wannabe TV presenter myself, I wanted to explore the exact process talent managers follow when finding the next big thing and whether I have exactly what it takes.

This article concentrates on what is often described as the weakest link, namely 1) above i.e. the Playback Decks and what could be another weak link, namely 2) i.e. Tape Cleaning Facilities. I have read several articles recently written in the belief that the playback of magnetic video tape will be all but dead in about 20 years due mainly due to lack of working VTRs this inspires me to do something about it.

There can be a one size fits all approach to prompting, but with the many forms of production in todays broadcasting world - from a major sporting event, to the biggest Saturday night entertainment show, to a 24-hour news operation or prompting on location - it is unlikely that a single system will suit every circumstance. The equipment needs to be designed for purpose, interchangeable and adaptable, since prompting, like other areas of the broadcast workflow, does not stand still.

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Matching shots between different cameras can be tricky at the best of times. But how do you match lens characteristics between a live action shoot and a CGI composition? The CP.3 XD lenses from Zeiss offer an efficient solution to this with their frame accurate meta-data.

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Having a choice is a good thing. Take apples, for example. While one may look pretty much the same as the next, we know that the subtle differences between varieties can make a huge difference in how we choose to use them some are best for pies, some better for cider, and others just perfect for eating from the tree.

A specialist in multi-camera concert films and music documentaries, Toward Infinity began working with Trickbox TV around 18 months ago. Run by Producer, Director and Editor Tim Sidwell and Producer and DP Jeremy Mason, Toward Infinity is a creative collaboration that works with top flight venues including: Royal Albert Hall, Wembley Arena, the O2 Arena, Shepherd's Bush Empire and the London Forum, with artists in all genres.

IBC is upon us once more. The doors of the RAI will open for the European electronic media and entertainment industry to scrum together to gather inspiration, keep abreast of developments in tech, and generally take the temperature of the industry.

When we were introduced to the team behind Sensation dance events in Amsterdam they had one big question for Timecode Systems: could our SyncBac VR wireless sync and control solution theoretically make it possible for a high quality, professional 360-degree video of a live dance music event to be edited in the time it takes the DJ to fly to his or her next gig? Intrigued by what our solution could help them achieve, in July they invited us to film at one of their iconic dance music events. Billed as The Final it was a sell-out farewell party to mark the last Sensation event in Amsterdam.

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In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018?

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